It’s Marie vs Debra in a cat & mouse game for control of who’s cleaning the house.

Get to know the writer:

What is your screenplay based on the TV SERIES “Everybody Loves Raymond” about?

It’s about seeing what we all figured would happen eventually; that Marie’s constant meddling and being a nuisance in general, would lead to Debra’s insanity.

How does this episode fit into the context of the series?

I actually thought this plot line was a no-brainer for Debra. I would have done this myself given the same situation.

How would you describe this script in two words?

Sweet revenge

What TV show do you keep watching over and over again?

Seinfeld

How long have you been working on this screenplay?

Initially, it took a few days but I’ve tweaked it several times over the past several years.

How many stories have you written?

Three sit coms and one film.

What is your favorite song? (Or, what song have you listened to the most times in your life?)

That’s a tough one. Sometimes I’ll be in a certain mood and one song fits it perfectly so I just keep playing it for hours. Once, during a late, dark night on a long and empty stretch of I99 in California, I listened to Chris Isack’s, Wicked Game for 6 hours.

What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I wanted to get some feedback on it and I thought people would enjoy it. Great feedback, thanks.

Any advice or tips you’d like to pass on to other writers?

In the words of Rodney Dangerfield as Thorton Melon, “Don’t go. It’s rough out there. Move back in with your parents. Let them worry about it.”

But if you insist, get your work out there, everywhere. Listen to criticism and learn what you can from it but don’t let it get to you. Remember, your writing is YOUR view on the subject so don’t compromise that. Go back to your earliest stuff and make it better. If you can’t do that, you either have the rare early masterpiece, or maybe you should consider another dream job. I’m sure every writer has heard to write what you know and what you care about. When you do, your writing becomes interesting, and for me, this is the the most important thing about a script. You can follow all the formulas you want but if it isn’t interesting then what’s the point. Conversely, if you have a very interesting story, you can break many, if not most formula rules–as long as you keep it interesting. Oh, and a very good agent wouldn’t hurt, either. The reality is you can be the best unknown writer since Shakespeare, but to be successful at this gig you will also need some luck and there’s a decent chance that some of your success will come from the old “who you know” variety. The fact that every year sharp, really well written shows get dropped while 2 Broke Girls remains on the air (I’m still convinced there’s serious network blackmail going on there) proves this point.

Lastly, A famous script doctor–who’s services I wasted $6,000 on–said that most writers better be prepared to stick it out for 10 years before they can make a living from writing. This Debby Downer also told the auditorium of almost 900 wanna-be writers that only a handful present would probably be successful and that many would lose friends and family because of their failures. In retrospect, I guess I should have waited until AFTER the 3 day seminar to quit my day job. The good news is that with webtv and all the new platforms, there are more opportunities than ever for writers. Just keep looking for these different avenues to showcase your work.

Commitment-phobe, Charmaine must learn to grow up when she is paired with an at-risk youth in a Big Brother, Big Sister programme.Get to know the writer:

What is your screenplay about?

It is about a responsibility-averse, lesbian lothario who is forced to grow up when she is given community service and paired with an at-risk youth in the Big Brother Big Sister program.

What genres does your screenplay fall under?

Comedy, Romance

Why should this screenplay be made into a TV Show?

Because underneath all the comedy it has heart and universal appeal. It also provides an answer to many issues raised about television today including LGBT inclusion, gender equality, ethnic diversity – but it does this by focusing on story, not by being didactic in approach. It also looks at other important societal issues such as foster care, bullying, what to do when you get punched in the butt and many more.

How would you describe this script in two words?

Bad Ass

What TV show have you seen the most times in your life?

30 Rock.

How long have you been working on this screenplay?

I wrote it in a week, but have been revising it for the better part of a year.

How many stories have you written?

Five I take seriously. They are all so diverse; some comedic, some intensely dramatic – two features, two TV shows, a web series and a play.

What is your favorite song? (Or, what song have you listened to the most times in your life?)

Not many with the screenplay, as writing is a solo pursuit for me, so as long as I have the time I have the story. The issues obstacles came fast and furiously when approaching the production stage.

Apart from writing, what else are you passionate about?

I’m OBSESSED with the craft of acting. Basically, I love the process of creating. Anything I can create, I love – be it characters, stories, series, concepts etc. I also sing and write music. And I’m also a massive fan of freeform down time.

What influenced you to enter the festival? What were your feelings on the initial feedback you received?

It was the title of the festival, I thought how fantastic is it that there is a festival devoted to supporting people telling stories from the community. I believe the is a thirst for this kind of content on mainstream TV and festivals like this go a long way in ensuring this happens in the future.

It was so great to receive the feedback. In truth I had forgotten I had entered the festival, so was very pleasantly surprised to receive an email with feedback. It was wonderfully affirming to read the feedback that was generally super-positive. There was also valuable suggested changes, that were so helpful to hear before entering production.

A moody, intense drama about the Beat Generation of writers during their time in San Francisco. Focusing on Allen Ginsberg, this pilot tells the story of their tragically entwined lives as they struggle with the responsibility and tediumof a “normal” life and try to recapture their identity.

Commercially, “When the World was Square” presents the flip-side of Mad Men — the unrefined and raw sexuality and hipster fashions that have been largely ignored. Creatively, it presents and birth of America’s gay rights movement and pivot point toward the individual freedoms of expression we now enjoy.

How would you describe this script in two words?

Sexy and addictive.

What TV show do you keep watching over and over again?

Black Sails

How long have you been working on this screenplay?

About 2 years.

How many stories have you written?

In terms of fiction, I’ve written my fair share of unproduced screenplays and unpublished novels — combined I would say about 10. But I’m a professional writer and I write non-fiction every day that’s available to me, so my output is very high.

What is your favorite song? (Or, what song have you listened to the most times in your life?)

Pink Floyd’s “Dark Side of the Moon.”

What obstacles did you face to finish this screenplay?

Facing the challenge of integrating the research and history of the Beats into a compelling, structured narrative. You want to remain true to the original souls but at the same time portray their lives in a commercial and prescribed format.

Apart from writing, what else are you passionate about?

Sports cars. It’s an expensive habit. Right now I have an old Porsche. Don’t ask about the repair bills. But drop the top on a beautiful day here in South Georgia and the experience is all worth it.

What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I would say it’s the dream of every aspiring screenwriter to see their work performed by people passionate about their craft, and short of a full-blown production a table read is really inspiring. The feedback was great. I took it all to heart and a few weeks laters ended up with a much-improved version.

Any advice or tips you’d like to pass on to other writers?

In retrospect, I would urge you all to stay in medical school. Short of that, strive for originality because even if you find yourself eventually drifting into commercial trends at least you would have started in place that’s true to yourself.

An anguished Barry Allen faces off against a mysterious Black Knight that matches him in speed and strength. All the while, he must come to terms with his ability to go back in time and the consequences of doing do.

Get to know the writer:

What is your TV spec screenplay on the show “THE FLASH” about?

The Flash: Godspeed Barry Allen Part One’ sees Barry going up against a fierce and mysterious black knight that seems to have it out for him. At the same time, he is haunted by past actions involving him time traveling.

Why does this screenplay fit into the context of the series?

In the context of the series, this screenplay would fit after Flashpoint and when things have seemingly settled down after the chaos Barry’s actions unleashed.

How would you describe this script in two words?

Two words I would describe this screenplay (Part One) would be Strong Setup.

What TV show do you keep watching over and over again?

I am not that big into TV these days, but The Walking Dead has kept me engaged mostly now because of Negan.

How long have you been working on this screenplay?

I have been working on the overall screenplay for a couple of months on and off. Part one took a couple of weeks after I decided to split it.

How many stories have you written?

I have Probably written more stories than I can count on both hands, but they are of varying quality.

What motivated you to write this screenplay?

I was motivated to write this screenplay after season 2 of the Flash disappointed me and the first episode of season 3 let me down. After that I passed off watching more episodes especially since CW lost them and Netflix is going to be a long while. In the meantime, I started thinking to myself how I would write a Flash story. I took influences from Dark Souls of all properties in crafting the villain. As well, I wanted some thrilling action scenes as well as an emotionally difficult arc for Barry to overcome, but achieve a sense of victory and closure.

It was initially a single screenplay, but after receiving very quality feedback, I realized the only way to satisfy all parties without compromising the story was to expand it into two part. It was worth it in my observation upon reading the final work. I hope the audience is also satisfied with it.

What obstacles did you face to finish this screenplay?

As I stated in my previous answer, the feedback indicated there was a need to expand certain aspects of the script particularly the side characters and the deeper origins of the villain. I made the decision to split it into two parts which gave me a lot of room to breath, but also forced me to consider new challenges.

Since it is two scripts, the need to maintain consistency between them was a must. Certain things that happen in two are explained in one, but if the explanations in one are not in sync with what is happening in two, the whole thing falls apart. As well, things set up in one need to have a quality payoff or their foreshadowing is just empty baiting that will turn off the audience.

Apart from writing, what else are you passionate about?

Aside from writing, I tend to read up on religion, history and politics. I used to be a big gamer, but I have mellowed out these days.

What influenced you to enter the festival? What were your feelings on the initial feedback you received?

What influenced my decision to submit for the festival was the need to finally showcase my writing to the professional circuit. After years of writing on and off, I wanted to see how far I have come and need to still go. What surprised me was how positive the initial feedback was. Most of the issues had more to do with technical structure and descriptions, but the response to the narrative essence was very enthusiastic. It certainly gave me a much needed boost and encourage me to write more consistently.

Any advice or tips you’d like to pass on to other writers?

I would say to writers to write, get feedback, and write some more. Read scripts to see the technical details of how movies are written and I will be honest, I have not done enough of that. As well, watch, and yes even play, the various entertainment mediums around and think about why you and others like or dislike them so much. Writing can be fulfilling, but it is not easy and a firm resolve is needed to stick with it.

After being framed for treason and losing his job at a prestigious DC lobbying firm, an arrogant grad student finds himself forced to take an entry-level position at the second-worst federal agency in America.

Get to know the writer:

What is your TV Pilot screenplay about?

My pilot, Down With The Bureaucracy, is about an arrogant graduate student named Nathan who is forced to take an entry-level position at the second-worst federal agency in America in order to keep his academic scholarship. While Nathan is hostile to all of his coworkers at first, he finds he must convince them to help him save his job when his spiteful manager tries to fire him on the first day.

Why should this screenplay be made into a TV show?

Aside from the fact that I think it would be a pretty funny show, I think there’s a huge audience for a sitcom about how ridiculous it can be working at the lower rungs of the federal government. We certainly have some amazing shows like Veep that mock the people in the corridors of power, but there are plenty of people in the lesser-known agencies who could use the same treatment.

At the same time, I also want to create a show that demonstrates the good that the federal workforce can do. Not only could this show derive material from the incompetence of the federal bureaucracy, it can show that there are plenty of talented and dedicated federal employees who are keeping this country afloat. I don’t know about you, but I can’t think of a better way to endear people to their government than through a show about a group of bumbling coworkers who occasionally manage to do a decent job. Well, aside from a civics class.

How would you describe this script in two words?

Utterly rewarding.

What TV show do you keep watching over and over again?

It’s only rounding out its second season, but I think I’ve watched every episode of NBC’s Superstore about seventeen times each. It’s an excellent example of how to use an ensemble cast full of absurd characters to create a compelling and hilarious sitcom. The same can be said of The Good Place, Brooklyn Nine-Nine, Community, Parks and Rec, 30 Rock, and all the other shows I find myself watching again and again.

How long have you been working on this screenplay?

I’ve been working on this one for about two years and a half now. I recently compared the first draft from May 2014 with this current draft, and while many of the core pieces remain intact, it is radically different than it used to be. Hopefully, it’s better too!

How many stories have you written?

This is a difficult question to answer, because I have several scripts in various stages of “completion.” I would say that I have four scripts in what you might call late-stage drafts, and many others that are in earlier stages of editing, drafting, outlining, or nascent, amorphous chaos.

What motivated you to write this screenplay?

When I was in grad school, I was also working full-time and I was very unhappy with my employment situation. I was bored and frustrated, and all of my job applications were met with silence, so I felt like I was stuck. I can’t even remember what the situation was, but one day, some nonsense happened at work and I said something to the effect of, “That is so stupid, it could be in a sitcom.” I started writing that very night. And I did end up leaving that job for something much better soon after, but not before taking extensive notes about working there that I’ve used in my pilot.

What obstacles did you face to finish this screenplay?

I don’t believe it’s done yet, but there have been some obstacles in getting it to this point. The most vexing obstacle for me was and remains developing a consistent writing habit, then sticking to it. I try do some writing during lunch at work, and then after coming home and foraging through the fridge for a somewhat healthy dinner, I write some more. Some days are better than others, but I figure as long as I can get SOMETHING down every day, I can count it as a success.

Apart from writing, what else are you passionate about?

Video games, a free and open internet, and naps. Pretty much anything I can do on my couch.

What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I entered the festival precisely because of the reputation of the feedback. It can be challenging to find sources for insightful feedback when you’re outside of an academic or professional setting, especially if you’re just starting out and you have no connections. Several friends of mine who had previously entered the festival told me that the feedback they received was incredibly helpful, and I absolutely agree. After digesting and utilizing the notes I received, I can say with utmost certainty that my script is leagues ahead of where it was before the festival.

Any advice or tips you’d like to pass on to other writers?

Many people have said this in much more insightful ways, but I’d advise other writers to always be open to receiving constructive feedback, and to seek it out specifically. It’s not easy hearing something you’ve been working on for a long time isn’t as good as you think it is, but receiving that type of criticism is essential to developing your skills as a writer. Don’t take it personally, don’t ignore it, and use it to improve your work.